“Centaur is among the most elegant and legible of the twentieth-century romans. Designed by Brtuce Rogers and hand-cut in 1915 for casting into case, it was redrawn for Monotype and reissued in 1929, and used by Rogers for his Oxford

Hilary Pepler is among the most colourful exponents of twentieth-century letterpress printing. Here he allows his gaze to fall (inaccurately, see footnote) on the origins and socio-religious history (a few references missing here) of the printed word. But his sheer

“The master craftsman is here at work, demonstrating elegant use of movable type . . . ” Enlarged from a poster cut-out from Rudolf Koch’s Die Schriftgiesserie im Schattenbild, 1936, this poster was printed for the special copies of Matrix

This Matisse head appeared in the first issue of Verve, that feast of inspiration first published by Teriade in Paris in 1937. Le Tourbillon is from Truffaut’s film Jules et Jim of 1962. They first came together by chance in

This one was first printed as the frontispiece for Pages from Presses (2006). We decided this was the best way to show off the various types used by the earlier private presses from Kelmscott onwards that were the subject of

Pastorale, a selection of wood-engravings by Lucien Pissarro (son of Camille), was printed on three of Joseph Batchelor’s hand-made papers made to William Morris’ specification, from the original blocks lent to us by the Ashmolean Museum in Oxford. Charles Ricketts